A man and a woman wearing formal kimono, for a 1923 wedding (other views)
Kimono for a young woman, depicting a boat on swirling water, with pine tree, plum blossoms and maples. Japan, 1912–1926. From theKhalili Collection of Kimono[1]Woman in kimono atFukuoka City Hall
Thekimono (着物;Japanese pronunciation:[kʲi.mo.no],[2]lit.'thing to wear')[a] is a traditional Japanese garment and the national dress ofJapan. The kimono is a wrapped-front garment with square sleeves and a rectangular body, and is wornleft side wrapped over right, unless the wearer is deceased.[4] The kimono is traditionally worn with a broad sash, called anobi, and is commonly worn with accessories such aszōri sandals andtabi socks.
Kimonos have a set method of construction and are typically made from a long, narrow bolt of cloth known as atanmono, though Western-style fabric bolts are also sometimes used.[5] There are different types of kimono for men, women, and children, varying based on the occasion,the season, the wearer's age, and – less commonly in the modern day – the wearer's marital status. Despite the kimono's reputation as a formal and difficult-to-wear garment, there are types of kimono suitable for both formal and informal occasions. The way a person wears their kimono is known askitsuke (着付け,lit.'dressing').
The history of the kimono can be tracked back to the Heian period (794–1185), when Japan's nobility embraced a distinctive style of clothing. Formerly the most common Japanese garment, the kimono has fallen out of favour and is rarely worn as everyday dress now. They are most often seen at summer festivals, where people frequently wear theyukata, the most informal type of kimono. More formal types are worn to funerals, weddings, graduations, and other formal events.Geisha andmaiko are required to wear a kimono as part of their profession, andrikishi (sumo wrestlers) must wear kimonos at all times in public.[6] Despite the small number of people who wear it regularly and its reputation as a complicated garment, the kimono has experienced revivals in previous decades, and is still worn today as fashionable clothing in Japan.
Before theKofun period, reliable sources are scarce, so judgments are mainly based on the shapes of excavated artifacts such ashaniwa. From these, we can already see garments of thekosode type, such astsutsusode andtari-eri, as well as clothing considered to be prototypes ofhakama.[7][8]
TheNara period is considered a time when the upper classes were strongly influenced by China'sTang dynasty, and many garments show the influence of TangHanfu. In addition, under the clothing regulations of the court, formal dress, court dress, and uniforms were prescribed. Meanwhile, the commoner classes wore simple and practical clothing, continuing to use ancient styles of upper garments and hakama even after this period.[8][9]
Nara-period dress, late 8th century, 2005 reconstruction
In the earlyHeian period, the missions to Tang China were abolished and the Tang dynasty fell; from the mid to late Heian period onward, the so-called “national style culture” flourished. Among the upper classes, new garments such as thejūnihitoe andsokutai were created. These often consisted of wearing hakama on the lower body and layering multiple garments on the upper body in luxurious fashion. Within this aristocratic class, the kosode was worn simply as an undergarment for the upper body.[8] On the other hand, among the common classes in the Heian andKamakura periods, the kosode was everyday wear, combined with hakama or worn in a simplified upper garment-and-hakama style.[9] Among the commoners, kosode were further simplified, often worn alone with only a waist sash. This is called kosode no kinagashi (wearing a kosode flowing). During this time, sleeves changed from cylindrical (tsutsusode) to narrow-cuffed (tsumesode).[8][11] Examples include some women in the late Heian scroll painting Ban Dainagon Ekotoba[11] and the women farming rice in Ōyamadera Engi. For the working classes, hakama could be a hindrance.[12] Nevertheless, the kosode eventually became the foundation of the modern kimono.
From the latter half of the Kamakura period and into theMuromachi period, the weakening of the court nobility reached its peak. Moreover, as the samurai originally a military class close to commoners[b] rose into the upper classes, the formerly extravagant upper garments disappeared. The kosode, which had been worn as the innermost garment, came to the forefront, merging with the kosode of the common people. Thus, in the Muromachi period, the simplest kosode, the prototype of the modern kimono, was born.[8] The combination of kosode and hakama, called kosode-bakama, was treated as semi-formal attire in this period, later becoming formal wear.[13] For example, the modern men's formal attire haori-hakama consists of kosode and hakama with a haori coat over them.[14] Eventually, even the upper classes dispensed with hakama, and the kosode worn flowing (kinagashi) became common informal wear regardless of class.[15]Entering theEdo period, with the peace of the time, women's kosode became more ornate, with greater variety of patterns and changes in shape according to demand. Sleeve length increased, and the obi grew longer and wider. To prevent the garment from loosening, the obijime cord originally used in Kabuki was adopted, leading to the modernfurisode. During theGenroku era, kosode featured large sleeve pouches and flashy, innovative designs, while the hem was often worn long and trailing, with more relaxed dressing.[16] Through these developments, the kosode evolved into what we recognize today as the modern kimono.
The first instances of kimono-like garments in Japan weretraditional Chinese clothing introduced to Japan via Chinese envoys in theKofun period (300–538 CE; the first part of the Yamato period), through immigration between the two countries andenvoys to the Tang dynasty court leading to Chinese styles of dress, appearance, and culture becoming extremely popular in Japanese court society.[3] The Imperial Japanese court quickly adopted Chinese styles of dress and clothing,[17] with evidence of the oldest samples ofshibori tie-dyed fabric stored at theShōsōin Temple being of Chinese origin, due to the limitations of Japan's ability to produce the fabrics at the time.[18] As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar to that ofHan dynasty China.[19]
In 718 CE, theYoro clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions.[20]: 133–136 This convention of wear is still followed today, with a right-to-left closure worn only by the deceased.[20]
Clothing used by the upper classes was significantly simpler to don and wear than dress from the following Heian period.[21] Sleeves, while narrow, were long enough to cover the fingers, since status was associated with covering more of the body.[22][21]
During theHeian period (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering theImperial Palace. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.[23] The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or "kokufū culture" (国風文化,kokufū-bunka). The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.[24]
Women's clothing in the imperial palace became increasingly stylised in the formaljūnihitoe, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleevedchun ju jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as themo skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;[3] themо̄ [ja] (裳) grew too narrow to wrap all the way around and became a trapezoidal pleatedtrain.[25]Hakama (trousers) became longer than the legs and also trailed behind the wearer.[26]
During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to thekosode (lit.'small sleeve') garment—previously considered underwear—becoming outerwear by the time of theMuromachi period (1336–1573 CE). Originally worn withhakama, thekosode began to be held closed with a small belt known as anobi instead.[3] Thekosode resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During theSengoku period (1467–1615) and theAzuchi–Momoyama period (1568–1600), the decoration of thekosode developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as themō andhakama, were almost never worn,[26] allowing full-length patterns to be seen.
Among the aristocratic class, which had been influenced by continental clothing, the abolition of theKentōshi missions to Tang China in the early Heian period, along with the subsequent development ofnational style culture, led to a gradual departure from Chinese models. New garments such as thejūnihitoe andsokutai were created, forming what is known asHeian period clothing. Some of these garments, particularly those of the aristocracy, are still worn today inImperial ceremonies.
The clothing of commoners in the early and middle Heian periods is not well understood, but depictions appear in theBan Dainagon Ekotoba, believed to have been produced in the late Heian period. Many men are shown wearingsuikan, with hakama reaching below the knees. Women are shown wearing wide-sleeved garments orkosode in a flowing style, and some are depicted with a waist cloth wrapped around the body.[28]
Portraits of the Four Sages (Eiwa version, Important Cultural Property)
Thesuikan worn by commoners became the basis for the creation of thehitatare. In the Kamakura period, the hitatare became the formal ceremonial attire of thesamurai class. Entering the Muromachi period, the hitatare became the first-rank formal attire of the warrior class.
Thedōmon (daimon) andsuō appeared during this time.
Women's clothing also became increasingly simplified. Themo gradually shortened, transforming into hakama, and eventually disappeared. After this, women wore a waist wrap or a yūmaki over akosode. Theuchikake, a long kosode draped over another kosode, was also developed.
The overall silhouette of the kimono transformed during the Edo period due to the evolution of theobi, the sleeves, and the style of wearing multiple layered kimono. (Utagawa Kuniyoshi,Plum Blossoms at Night, woodblock print, 19th century)
During theEdo period (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the earlyGenroku period (1688–1704 CE), wherein "Genroku culture" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerfulmerchant classes (chōnin), whose clothing was representative of their increasing economic power and rivalled the aristocracy and samurai classes, shown by their brightly coloured kimono that utilised expensive production techniques, such as hand-painted dyework.[29]Rinzu, adamask fabric, also became the preferred material for kimono at this time, replacing the previously popularnerinuki plain-weave silk, which had been used to createtsujigahana.[30]
In the Edo period, clothing was further simplified, and thekamishimo, consisting of a kataginu (shoulder garment) andhakama, was used. Thekosode became extremely popular as part of commoner culture. With the rise of theater such askabuki, and the depiction of actors’ clothing innishiki-e andukiyo-e, the dress of commoners grew even more dazzling and extravagant. In response, theTokugawa shogunate attempted to regulate clothing repeatedly throughsumptuary laws based onConfucian values. However, the passion of the common people for clothing did not subside. Influenced also by the aesthetics oftea ceremony, they came to prefer garments that appeared plain but were in fact very costly.
The tying of sashes and the development of decorative cords advanced, and the custom of tying the obi at the back became established.
In the lateMing dynasty, the Chinese scholarZhu Shunshui fled toJapan. At the request ofTokugawa Mitsukuni, he illustrated and taught the forms of court dress, kakuobi, field clothing, Taoist robes, Ming-style caps, gauze hats, and futou headgear. Tokugawa Mitsukuni called himself “a disciple of Zhu Shunshui.” In the works “Reigi Ruiten Zue” and “Dainihonshi – Raku-gaku-shi,” Mitsukuni researched in detail the clothing systems of theNara period, as well as the attire of theTenshi (Emperor), Empress, Imperial Princes, and military officials, compiling them into a codified system of ceremonial dress that continues to influence modern Japan.
In Kyoto,Nishijin weaving learned advanced techniques such as kinran (gold brocade), nishiki (brocade), kara-ori, donsu (damask), monsha, chirimen (crepe), and embroidery from Ming dynasty weavers who settled at Osaka port. The kara-ori ofNishijin was significantly improved. The Nomoto family of Nishijin wove five-colored threads imitatingShu brocade, producing floral, avian, and other elaborate designs, while Jigakushōgyō developed a refined form of kara-ori. Kyoto's Nishijin weaving remains the center of kara-ori production to this day.
In response to the increasing material wealth of the merchant classes, theTokugawa shogunate issued sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyedshibori patterns.[31] As a result, a school of aesthetic thought known asIki developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.
From this point onwards, the basic shape of both men's and women's kimonos remained largely unchanged.[3] The sleeves of thekosode began to grow in length, especially amongst unmarried women, and theobi became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them.[3]
In the Edo period, the kimono market was divided into craftspeople, who made thetanmono and accessories,tonya, or wholesalers, and retailers.[32]: 129
Due to the policy of national isolation, silk was no longer imported from abroad, so most of the silk used in Japan became domestically produced. Although some commoners in the Edo period wore relatively inexpensivecrepe silk, theTenmei famine from around 1783 to 1788 led the shogunate, in 1785, to prohibit commoners from wearing silk products. Commoners instead wore clothing made of cotton or hemp. Peddlers selling fabric scraps often visited the downtown areas, and commoners would carefully repair and reuse their garments with the purchased scraps.[33] Theinrō, originally a men's accessory worn with kimono, became increasingly valued for its aesthetic qualities in the late Edo period and began to be collected as art objects.
Women's clothing, influenced by the fashion for long sleeves (tamoto), developed into thefurisode, which became a bridal garment.
In 1864, on the occasion of theKinmon incident, theEdo shogunate raised troops to subjugate theChōshū Domain, and it was decided that theirmilitary uniform would be made in the Western style. A merchant from Kodenmacho, Morita Jihee, took on the production of 2,000 uniforms. Although it required trial and error, he succeeded in making them. This is said to be the first recorded instance of mass production of Western clothing in Japan.
Assorted types of kimono, Western dress, a court lady inkeiko, and a schoolgirl in a high-collared shirt, kimono andhakama. All wear both purple and red. 1890.
Family ofHoriai Setsuko, May 1912, some in European dress, some in kimono, some wearinghakama. Women'shakama spread from the court as part ofJapanese reform dress.
In 1869, the social class system was abolished, and with them, class-specific sumptuary laws.[32]: 113 Kimonos with formerly-restricted elements, such as red and purple colours, became popular,[32]: 147 particularly with the advent of synthetic dyes such asmauvine.
Following the opening of Japan's borders in the early Meiji period to Western trade, new materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimonos being relatively common in pre-1960s Japan; the use of safflower dye (beni) for silk linings fabrics (known asmomi; literally, "red silk") was also common in pre-1960s Japan, making kimonos from this era easily identifiable.
During theMeiji period, the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of modernity. In 1871, Western clothing was adopted by both policemen and mailmen.[34] After an edict byEmperor Meiji in the same year,[34] the court, courtiers and bureaucrats moved to wearing Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Following the trend of other positions, 1872 saw railway workers transitioning to Western clothing.[34] It was not until 1877 until an edict similar to the one given by Emperor Meiji, was put in place byEmpress Haruko for women.[35] Initiatives such as the Tokyo Women's & Children's Wear Manufacturers' Association (東京婦人子供服組合) promoted Western dress as everyday clothing.
Western clothing quickly became standard issue asarmy uniform for men[36] and school uniform for boys, and between 1920 and 1930, thefuku sailor outfit replaced the kimono and undividedhakama as school uniform for girls.[3]: 140 However, kimono still remained popular as an item of everyday fashion; following theGreat Kantō Earthquake of 1923, cheap, informal and ready-to-wearmeisen kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions.[37] By 1930, ready-to-wearmeisen kimono had become highly popular for their bright,seasonally changing designs, many of which took inspiration from theArt Deco movement.Meisen kimonos were usually dyed using theikat (kasuri) technique of dyeing, where either warp or both warp and weft threads (known asheiyō-gasuri)[37]: 85 were dyed using a stencil pattern before weaving.
It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of thehōmongi, divisions oftomesode (short-sleeved) kimono for women, andmontsuki hakama.[32]: 133-134 The bridal kimonotrousseau (oyomeiri dōgu), an uncommon practice of the upper classes in the Edo period, also became common throughout the middle classes;[32]: 67, 76 traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women.[32]: 82, 93, 146 Standards ofkitsuke at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniformohashori and a smooth, uncreasedobi, which also resembled the "proper"kitsuke of upper-class women. However,kitsuke standards were still relatively informal, and would not become formalised until after World War II.
A 1957 clothing ad, showing postwarkitsuke standards for women, which promoted a neater, more standardised appearance
While kimonos were no longer common wear for men, they remained everyday wear for Japanese women untilWorld War II (1940–1945).[32]: 17 Though the Taishō period had seen a number of invented traditions, standards ofkitsuke (dressing) were still not as formalised in this time, with creases, unevenohashori and crookedobi still deemed acceptable.[32]: 44-45
During the war, kimono factories shut down, and the government encouraged people to wearmonpe (also romanised asmompe) – trousers constructed from old kimono – instead.[32]: 131 Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs.[citation needed][38] Cloth rationing persisted until 1951, so most kimonos were made at home from repurposed fabrics.[32]: 131
In the second half of the 20th century, the Japanese economy boomed,[32]: 36 and silk became cheaper,[citation needed] making it possible for the average family to afford silk kimono.[32]: 76 The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class.[32]: 36 Formalisation sought perfection, with no creases or unevenness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono.[32]: 44-45 The kimono-retail industry promoted a sharp distinction between Japanese and Western clothes;[32]: 54 for instance, wearing Western shoes with Japanese clothing (while common in the Taishō period) was codified as improper;[32]: 16 these rules on proper dressing are often described in Japanese using the English phrase "Time, Place, and Occasion" (TPO). As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercialkitsuke schools were set up to teach women how to don kimono.[32]: 44 Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation.[32]: 36, 133 ).
Kimonos were promoted as essential for ceremonial occasions;[32]: 76, 135 for instance, the expensivefurisode worn by young women forSeijinshiki was deemed a necessity.[32]: 60 Bridal trousseaus containing tens of kimono of every possible subtype were promoted asde rigueur, and parents felt obliged to provide[32]: 76 kimono trousseaus that cost up to 10 million yen (~£70,000),[32]: 262 which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks.[32]: 81
By the 1970s, formal kimonos formed the vast majority of kimono sales.[32]: 132 Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but a perception of kimono knowledge, allowing them to dictate prices and promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. The kimono industry peaked in 1975, with total sales of 2.8 trillion yen (~£18 billion). The sale of informal brand new kimono was largely neglected.[32]: 135, 136
The economic collapse of the 1990s bankrupted much of the kimono industry[32]: 129 and ended a number of expensive practices.[32]: 98 The rules for how to wear kimonos lost their previous hold over the industry,[32]: 36 and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive.[32]: 98 It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals.[32]: 95, 263 Many women had dozens or even hundreds of kimonos, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50;[32]: 98 about US$5), a few per cent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this.[32]: 98
In the early years of the 21st century, the cheaper and simpleryukata became popular with young people.[32]: 37 Around 2010, men began wearing kimonos again in situations other than their own wedding,[32]: 36, 159 and kimonos were again promoted and worn as everyday dress by a small minority.[32]
Kimono-inspired trouser suit,Kimono: Kyoto to Catwalk exhibition, Victoria and Albert Museum, Dundee (2024)[39]
Today, the majority of people in Japan wear Western clothing as everyday attire, and are most likely to wear kimonos either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cottonyukata.
In 2020, theVictoria and Albert museum staged an exhibition calledKimono: Kyoto to Catwalk, a "collection of around 300 garments, accessories, paintings, prints, photographs and film clips" relating to the history of the Kimono from the 17th century to the present. The final instalment of the exhibition's four-year international tour was at theV&A Dundee in 2024.[41][42][43]
A child wearing afurisode kimono in full formal dress
Both kimono andobi are made from a wide variety of fibre types, including hemp, linen, silk, Japanesecrêpe (known aschirimen), and figureddamask weaves (rinzu). Fabrics are typically – for bothobi and kimono – woven astanmono (bolts of narrow width), save for certain types ofobi (such as themaru obi), woven to double-width. Formal kimonos are almost always made from silk, with thicker, heavier, stiff or matte fabrics generally being considered informal.
Modern kimonos are widely available in fabrics considered easier to care for, such as polyester. Kimono linings are typically silk or imitation silk, and often match the top fabric in fibre type, though the lining of some casual silk kimono may be cotton, wool or linen.
A modernyukata machine-dyed with anadeshiko pattern, a September motif
Kimono fabrics are often decorated, sometimes by hand, before construction. Customarily, kimono with woven patterns are considered more informal, though forobi, the reverse is true, withobi featuring dyed patterns being less formal thanobi with woven patterns. Though kimono fabrics with woven patterns are typically not especially heavy and can be lightweight,obi fabrics with woven patterns are often very heavy, with many formalobi being made from thickly-woven brocade. Traditionally, woven kimonos are paired withobi that are decorated with dyed patterns, and vice versa. However, for all but the most formal kimono, this is more of a general suggestion than a strict rule. Formal kimonos are typically decorated with dyed patterns, commonly found along the hemline.[44] These patterns may feature embroidery in parts,couched gold and silver thread, and/or gold and silver foil. The layout of motifs can denote a kimono's age, with patterns that mirror along the vertical back seam (ryōzuma) being typical for kimono made before the 1930s.
Many kimono motifs areseasonal, and denote the season in which the kimono can be worn; however, some motifs have no season and can be worn all-year round. Others, such as the combination of pine, plum and bamboo – a grouping referred to as theThree Friends of Winter – are auspicious, and thus worn to formal occasions for the entire year. Motifs seen onyukata are commonly seasonal motifs worn out of season, either to denote the spring just passed or the desire for cooler autumn or winter temperatures. Colour also contributes to the seasonality of the kimono, with some seasons – such as autumn – generally favouring warmer, darker colours over lighter, cooler ones.
A number of different guides on seasonal kimono motifs exist,[45] with some guides – such as those for tea ceremony in particular – being especially stringent on their reflection of the seasons.[46] Motifs typically represent the flora, fauna, landscape or culture of Japan; one such example ischerry blossoms, a famously seasonal motif worn in spring until just before the actual cherry blossoms begin to bloom, it being considered unlucky to try and 'compete' with the cherries. Motifs are typically worn a few weeks before the official 'start' of any given season, as it is considered fashionable to anticipate the coming season.
Though men's kimonos historically displayed just as much decoration and variety as women's, in the modern era, the principal distinction of men's kimonos in terms of seasonality and occasion is the fabric. The typical men's kimono is a subdued, dark colour; black, dark blues, greens and browns are common. Fabrics are usually matte, in contrast to the occasional satin weaves of some women's kimonos. Some men's kimonos have a subtle pattern, and textured fabrics are more common in informal men's kimono. Informal men's styles may also feature slightly brighter colours, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colours, such as fuchsia, in their kimonos, which they are required to wear when appearing in public.
The fabrics that kimonos are made from are classified in two categories within Japan.Gofuku (呉服) is the term used to indicate silk kimono fabrics, composed of the charactersgo (呉, the Japanese pronunciation of "Wu"), referring to theState of Wu in ancient China where silk weaving technology developed, andfuku (服, meaning "clothing").[32]: 115 [48]
The termgofuku is used to refer to kimonos in general within Japan, particularly within the context of the kimono industry, as traditional kimono shops are called eithergofukuten (呉服店) orgofukuya (呉服屋) – with the additional character ofya (屋) meaning 'shop'.[49]
Cotton and hemp fabrics are referred to generally asfutomono (太物), meaning "thick materials", with both cotton and hemp yarns being considerably thicker than silk yarns used for weaving. Cotton kimonos are specifically referred to in the context of materials asmomenfuku (木綿服), "cotton clothes", whereas hemp kimonos are known asasafuku (麻服), "hemp clothes", in Japanese, with the character for hemp –asa (麻) – also being used widely for hemp, linen and ramie kimono fabrics.
Until the end of theEdo period, the tailoring of bothgofuku andfutomono fabrics was separated, with silk kimonos handled at shops known asgofuku dana, and kimonos of other fibres sold at shops known asfutomono dana. Stores that handled all types of fabric were known asgofuku futomono dana, though after theMeiji period, stores only retailingfutomono kimonos became less profitable in the face of cheaper everyday Western clothing, and eventually went out of business, leaving onlygofuku stores to sell kimonos – leading to kimono shops becoming known only asgofukuya today.[citation needed]
Kimonos can readily be resized, or unpicked back intotanmono (bolt) lengths.[32]: 131, 147
Outside of being re-woven into new fabrics, worn-out kimono have historically been recycled in a variety of ways, depending on the type of kimono and its original use.[32]: 131 When the cloth is worn out, it may be used as fabric for smaller items or to createboroboro (patchwork) kimonos (which were also sometimes made for the sake of fashion[50]). The fact that the pattern pieces of a kimono consist of rectangles, and not complex shapes, make reuse in garments or other items easier.[51]Sashiko are used to hold cloth together and decorate it. The cloth used for patchwork clothing must all be of similarweight,drape, andhandle.
Formal kimonos, made of expensive and thin silk fabrics, would have been re-sewn into children's kimonos when they became unusable for adults, as they were typically unsuitable for practical clothing; kimonos were shortened, with theokumi taken off and the collar re-sewn to createhaori, or were simply cut at the waist to create a side-tying jacket. After marriage or a certain age, young women would shorten the sleeves of their kimonos; the excess fabric would be used as afuroshiki (wrapping cloth), could be used to lengthen the kimono at the waist, or could be used to create a patchwork undergarment known as adōnuki. Kimono that were in better condition could be re-used as an under-kimono, or to create a false underlayer known as ahiyoku.
Children also traditionally worekataire, kimono made of a fancier material in theokumi and upper back.[52]: 16
Cutting a kimono from atanmonoHow a kimono is assembled from pieces cut from atanmono
The hatless child in the pale kimono most clearly shows the shoulder tucks and hip overfold used to adjust size.
Kata-nue-age, shoulder tucks to adjust size for children
Kimonos are traditionally made from a single bolt of fabric known as atanmono, which is roughly 11.5 metres (38 ft) long and 36 centimetres (14 in) wide for women,[3] and 12.5 metres (41 ft) long and 42 centimetres (17 in) wide for men. The entire bolt is used to make one kimono, and some men'stanmono are woven to be long enough to create a matchinghaori jacket andjuban as well. Kimono linings are made from bolts of the same width.
Some custom bolts of fabric are produced for especially tall or heavy people, such as sumo wrestlers, who must have kimono custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric.[53] For children, in the early 1900s, shorter lengths were used, and sometimes the body of the kimono was made only a single cloth width wide (hitotsumi).[54] Tucks were also used to take in the garment; an outwards-facing pleat at each shoulder (kata-nue-age) and akolpos-like overfold at the hip (koshi-nue-age), so that the child appeared to be wearing a sleeveless vest of the same fabric over their garment. These sewn tucks were let out as the child grew,[52]: 15 and are mostly only seen today on the kimono of apprentice geisha in Kyoto, as apprentices previously began their training at a young age, requiring tucks to be let out as they grew. In the present day, apprentices begin their training in their late teenage years, and the tucks are retained merely as an anachronism.
Though adult women also retained a 'tuck' at the hip, this was a leftover from the trailing length of most women's kimono, which had previously been either held up by hand when walking or tied up loosely with ashigoki obi; though kimonos were not worn as trailing towards the end of the 19th century, the excess length of most women's kimono remained, with the hip fold formalised and neatened into theohashori of the modern day.
Kimonos have a set method of construction, which allows the entire garment to be taken apart, cleaned and resewn easily. As theseam allowance on nearly every panel features twoselvedges that will not fray, the woven edges of the fabric bolt are retained when the kimono is sewn, leading to large and often uneven seam allowances; unlike Western clothing, the seam allowances are not trimmed down, allowing for a kimono to be resewn to different measurements without the fabric fraying at the seams.[citation needed] This was also used to prolong the life of the garment by reversing the sleeves (hiding the worn cuff hem in the shoulder seam) or the back panels (swapping the high-stress center seam and the low-stress sides),[55] like the European custom of side-to-middling or end-to-middling bedsheets.
Historically, kimonos were taken apart entirely to be washed – a process known asarai-hari. Once cleaned, the fabric would be resewn by hand;[3] this process, though necessary in previous centuries, is uncommon in modern-day Japan, as it is relatively expensive.
Despite the expense of hand-sewing, however, some modern kimonos, including silk kimono and all formal styles, are still hand-sewn entirely; even machine-sewn kimonos require some degree of hand-sewing, particularly in finishing the collar, the hem, and the lining, if present. Hand-sewn kimonos are usually sewn with a single running stitch roughly 3 millimetres (0.12 in) to 4 millimetres (0.16 in) long, with stitches growing shorter around the collar area for strength. Kimono seams, instead of being pressed entirely flat, are pressed to have a 'lip' of roughly 2 millimetres (0.079 in) (known as thekise) pressed over each seam. This disguises the stitches, as hand-sewn kimonos are not tightly sewn, rendering the stitches visible if pressed entirely flat.
The kimono is a symmetrical flat structure, with the back panel in the center, left and right back panels, front panels, and Okumi attached symmetrically.[56]
A single-layer garment made only from outer fabric or without lining is called Hitoe (unlined).[57]A garment with lining, or made by sewing together two layers of cloth back-to-back, is called Awase (lined).[58][59]
Migoro refers to the main body of the garment, covering the front and back torso, excluding sleeves and collar.[60]When overlapping the front panels, the one on top is called Uwamae (upper front) and the one underneath is Shitamae (lower front).[61]
Okumi is a half-width panel of fabric attached to the front panel to make closing the garment easier.[62]The combined width of front panel, back panel, and Okumi is called Mihaba (body width).[61]
Sleeves cover the arms.[63] In kimono, long sleeves give an elegant impression, while short sleeves are preferred as practical everyday wear.[56]
Garments with unsewn sleeve openings are called Ōsode (large sleeves), while those with small sewn sleeve openings are calledKosode (small sleeves).[64] Historically, kosode were worn as underwear by the upper class, but as fabrics and decoration improved, by the Muromachi period they became established as outerwear.[65]
Sleeves come in various styles, such as Furisode, Nagatsode, Tamotosode, Tsutsusode, Genroksode, Kakusode, Tomesode, Funebokosode, and modified Tsutsusode.[56]
Hirosode (ひろそで)
Also called Ōsode (large sleeve). Wide sleeve opening.
Cylindrical sleeves with little space between arm and fabric. Western clothing also calls such sleeves “Tsutsusode.” Most modern kimono do not have them, but they are found in work clothes and casual kimono.
Genroksode (げんろくそで)
Sleeve length is 30–40 cm for children, 42–45 cm for adults, with a large rounded contour at the Tamoto (pouch). The curve varies by age, about 8–15 cm. Named after theGenroku period when this kosode style began.[66]
Kakusode (かくそで)
Square sleeves without rounded corners.
Wide shoulders and narrow sleeve width
During the late Muromachi to early Edo period, a style of kimono with unusual sleeves became popular among wealthy townspeople. Although called “Kosode” at the time, it differed from both Heian-era kosode and modern kosode. The sleeves were shorter in width (about half the shoulder width), with small openings and a bulging curved bottom edge. Not Hansode. Because kimono panels (front/back widths) were much larger then, the sleeve dimensions seemed small in comparison. Today, some books mistakenly call this garment “Early Kosode,” but the term is inaccurate since kosode already existed in the Heian period.[citation needed]
Kataginu (かたぎぬ)
A garment with only body panels, no sleeves.
Kimono sleeve
In English, “Kimono Sleeves” refers to a style of Western clothing sleeves.[67] Literally “kimono sleeve,” but it does not mean Japanese kimono sleeves; it refers to sleeves cut as one piece with the body panel.
A number of terms are used to refer to the different parts of a kimono. Those that are lined are known asawase kimonos, whereas unlined styles are known ashitoe kimonos; partially lined kimonos – with lining only at the sleeve cuff, the back of the sleeve, the lower chest portion of thedōura and the entirety of thehakkake – are known asdō-bitoe (lit.'chest-single-layer') kimonos.[71] Some fully lined kimonos do not have a separate lower and upper lining, and are instead lined with solid panels on theokumi, themaemigoro and theushiromigoro.
Comparison between akosode (left) and a modern-day kimono (right)Ways of wearingkosode. Top left: as a belted and wrapped robe; top right: belted and off the shoulders in thekoshimaki style; bottom left: as an unbelted outer robekosode in theuchikake style; bottom right: over the head in thekatsugi style.
Though the basic shape of the kimono has not changed in centuries, proportions have, historically, varied in different eras of Japanese history. Beginning in the later Heian period, thehitoe – an unlined robe worn as underwear – became the predominant outerwear garment for both men and women, known as thekosode (lit.'small sleeve'). Court-appropriate dress continued to resemble the previous eras.
By the beginning of the Kamakura period, thekosode was an ankle-length garment for both men and women, and had small, rounded sleeves that were sewn to the body of the garment. Theobi was a relatively thin belt tied somewhat low on the waist, usually in a plain bow, and was known as ahoso-obi.[72] During this time period, the fashion of wearing akosode draped around the shoulders, over the head, or as the outermost garment stripped off the shoulders and held in place by theobi, led to the rise of theuchikake – a heavily decorated over-kimono, stemming from the verbuchikake-ru (lit.'to drape upon'), worn unbelted over the top of thekosode – becoming popular as formal dress for the upper classes.[3]: 39
In the following centuries, thekosode mostly retained its small, narrow and round-sleeved nature, with the length of women's sleeves gradually increasing over time and eventually becoming mostly detached from the body of the garment below the shoulders. The collar on both men's and women'skosode retained its relatively long and wide proportions, and theokumi front panel kept its long, shallow angle towards the hem. During the Edo period, thekosode had developed roughly modern kimono proportions, though variety existed until roughly the mid- to later years of the era.[73] Men's sleeves continued to be sewn shut to the body of the kimono down most of their length, with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly detached from the body of the kimono. Men's sleeves were also less deep than women's kimono sleeves so that they did not get tied under the narrowobi around the hips, whereas on a woman's kimono, the long, unattached bottom of the sleeve could hang over the widerobi without getting in the way.[74] Sleeves for both men and women grew in proportion to be of roughly equal width to the body panels, and the collar for both men's and women's kimono became shorter and narrower.
In the present day, both men's and women's kimono retain some historical features – for instance, women's kimono trailed along the floor throughout certain eras, and when the wearer went outside, the excess length would be tucked and tied underneath theobi in a hip fold known as theohashori. Theohashori is now used for fine length adjustments,[75] and takes up 7–10 inches (18–25 cm) of excess length.[74] A hand-sewn tuck across the back under theobi is used for coarse adjustments, and made deliberately weak so that the stitches will tear before the cloth does under tension.[75] Men's kimono, on the other hand, are cut to the length of the wearer's body and tied with a narrow belt at the hips, with no extra fabric in the kimono's length for an overfold at the hip.
Formal women's kimono retain the wider collar of previous eras (made from a fulltanmono-width instead of a half width), though it is always folded in half lengthwise before wearing – a style known ashiro-eri (lit.'wide collar', as opposed tobachi-eri, a normal width collar).[76]
Women's kimonos are still worn trailing in some situations, such as onstage, in historical dramas, and by geisha andmaiko. In these instances, the kimono worn is constructed differently to a regular women's kimono: the collar is set back further into the neck, the sleeves are sewn to the body unevenly (further down the front than the back), and the body is elongated. This style of kimono is referred to as asusohiki orhikizuri. Though the length of the kimono, collar style and sleeve construction differs for this type of kimono, in all other types of women's kimono, the construction is generally the same; the collar is set back only slightly into the nape of the neck, the sleeves are attached evenly only at the shoulder (not all the way down the sleeve length) and the kimono's length from shoulder to hem is ideally the entire height of the woman wearing it, to allow for the creation of theohashori.
The sleeve length (dropping down from the arm towards the floor when held outstretched) varies in kimono.
Sleeve lengths
Type
Sleeve length
Use
Men's sleeves
Men's sleeves are not visual markers of youth. They are attached to the body of the kimono all the way down, or almost all of the way down; though a small portion perhaps a few centimetres in length may be left unattached to the body at the very bottom, this portion is sewn closed. The construction of men's kimono sleeves reflects the fact that they do not have to accommodate the widerobi worn by women.
Usual women's length; this was longer pre-WWII, but was shortened due to rationing.[55][77] This is the length almost invariably used foryukata, and used by definition for every type oftomesode kimono.
Furisode (振袖,lit.'swinging sleeve') kimonos are worn by young, typically unmarried, women. In the present day, the termfurisode refers by definition to highly-formal long-sleeved kimono worn by girls and young women; however, informal kimono such asyukata withfurisode-length sleeves are sometimes seen. In the past, mostly all young women wore long-sleeved kimono as a marker of youth generally regardless of the formality of their kimono, and upon marriage, women would cut or hem their sleeves shorter, or unpick the sleeves and swap them for an identical but shorter pair.Furisode were historically worn by all children, with no gender distinction in pattern or cut, but it is now only young girls who are dressed infurisode.[54]
Divided intokuro-furisode andiro-furisode, these are parallel versions of the formal, shorter-sleevedkurotomesode andirotomesode, but with longer sleeves. Ako-furisode with akomon-style pattern is deemed casual wear.Ko-furisode are also worn withhakama. In the modern era,ko-furisode are rare, but are sometimes worn for graduations. Mostko-furisode are vintage kimono, as in the modern dayfurisode are not worn often enough to warrant buying a more casual form of the dress.[79]
86–115 cm (34–45 in), or shoulder to calf;[78] usually about 100 cm (39 in)
Tyu-furisode are suitable for most formal occasions; the sleeve length oftyu-furisode has been growing longer, due to growing people and the near-elimination ofō-furisode, and may be consideredō-furisode.[79]Tyu-furisode are worn toseijin shiki (Coming of Age Day) or weddings, either by the bride herself or an unmarried younger female relative.
Both men's and women's brand-new kimono can range in expense (in 2023) from around ¥1000 (~US$7) to ¥150,000 (~US$1050)[80]
The high expense of some hand-crafted brand-new kimonos reflects the traditional industry, where the most skilled artisans practice specific, expensive and time-consuming techniques, known to and mastered only by a few. These techniques, such as hand-pliedbashofu fabrics and hand-tiedkanoko shibori dotwork dyeing, may take over a year to finish. Kimono artisans may be madeLiving National Treasures in recognition of their work, with the pieces they produce being considered culturally important.
Even kimonos that have not been hand-crafted will constitute a relatively high expense when bought new, as even for one outfit, a number of accessories of the right formality and appearance must be bought. Not all brand-new kimono originate from artisans, and mass-production of kimono – mainly of casual or semi-formal kimono – does exist, with mass-produced pieces being mostly cheaper than those purchased through agofukuya (kimono shop).
Though artisan-made kimonos are some of the most accomplished works of textile art on the market, many pieces are not bought solely for appreciation of the craft. Unwritten social obligations to wear kimono to certain events – weddings, funerals – often leads consumers to purchase artisan pieces for reasons other than personal choice, fashion sense or love of kimono:
[Third-generationyūzen dyer Jotaro Saito] believes we are in a strange age where people who know nothing about kimonos are the ones who spend a lot of money on a genuine handcrafted kimono for a wedding that is worn once by someone who suffers wearing it, and then is never used again.[81]: 134
The high cost of most brand-new kimonos reflects in part the pricing techniques within the industry. Most brand-new kimonos are purchased throughgofukuya, where kimonos are sold as fabric rolls only, the price of which is often left to the shop's discretion. The shop will charge a fee separate to the cost of the fabric for it to be sewn to the customer's measurements, and fees for washing the fabric or weatherproofing it may be added as another separate cost. If the customer is unfamiliar with wearing kimono, they may hire a service to help dress them; the end cost of a new kimono, therefore, remains uncertain until the kimono itself has been finished and worn.[32]
Gofukuya are also regarded as notorious for high pressure sales practices seen as unscrupulous such as kakoikomi (囲い込み “enclosure”):
Many [Japanese kimono consumers] feared a tactic known askakoikomi: being surrounded by staff and essentially pressured into purchasing an expensive kimono [...] Shops are also renowned for lying about the origins of their products and who made them [...] [My kimono dressing (kitsuke) teacher] gave me careful instructions before we entered the [gofukuya]: 'do not touch anything. And even if you don't buy a kimono today, you have to buy something, no matter how small it is.'[32]: 115–117
In contrast, kimonos bought by hobbyists are likely to be less expensive, purchased from second-hand stores with no such sales practices or obligation to buy. Hobbyists may also buy cheaper synthetic kimono (marketed as 'washable') brand-new. Some enthusiasts also make their own kimono; this may be due to difficulty finding kimono of the right size, or simply for personal choice and fashion.
Second-hand items are seen as highly affordable; costs can be as little as ¥100 (about US$0.90)[citation needed] at thrift stores within Japan, and certain historic kimono production areas around the country – such as theNishijin district of Kyoto – are well known for their second-hand kimono markets. Kimono themselves do not go out of fashion, making even vintage or antique pieces viable for wear, depending on condition.[82]
However, even second-hand women'sobi are likely to remain somewhat pricey; a used, well-kept and high-quality second-handobi can cost upwards of US$300,[citation needed] as they are often intricately woven, or decorated with embroidery, goldwork and may be hand-painted. Men'sobi, in contrast, retail much cheaper, as they are narrower, shorter, and have either very little or no decoration, though high-end men'sobi can still retail at a high cost equal to that of a high-end women'sobi.
Several different types of kimono exist. These varieties are primarily based on formality and gender, with more women's varieties of kimono existing than men's.
The modern kimono canon was roughly formalised afterWWII, following fabric shortages, a generation unfamiliar with wearing kimono in everyday life, and the postwar revival of kimono sales bygofukuya, traditional kimono shops. In previous centuries, types of kimono were not as distinct, with factors such as age andsocial class playing a much larger role in determining kimono types than they do presently. Beginning in the Meiji period, and following theMeiji Restoration and the abolition of class distinctions, kimono varieties began to change as Japanese society did, with new varieties being invented for new social situations.
Kimono are classified not only by form (such asNagagi orHaori) but also by formality (Furisode, Tomesode, Hōmongi, Tsukesage, Komon, etc.), weaving structure (Sha, Ro, etc.), use of thread (Tsumugi, Chijimi, etc.), fiber material (silk, hemp, cotton, synthetic fibers, etc.), and dyeing method (pre-dyed, post-dyed), among other factors.[83]
According to The Encyclopedia of Clothing compiled by the Japan Society of Home Economics, kimono are classified according to TPO (time, place, occasion) of wearing into formal wear, semi-formal wear, informal formal wear, and everyday wear.[84]In addition, there are items worn only for limited occasions or situations, such asHappi coats worn at festivals,Yukata orDotera worn at inns, etc.[85] Kimono attire varies depending on the occasion or situation in which it is worn.[85] While there are regional differences in types of kimono for each occasion, the following shows general examples.[85]
Kimonos range in variation from extremely formal to very casual. For women, the formality is determined mostly by pattern placement, decoration style, fabric choice and colour. For men, whose kimonos are generally monochromatic, formality is determined typically by fabric choice and colour. For both men and women, the accessories andobi worn with the kimono also determine formality.
The formality levels of different types of kimono are a relatively modern invention, having been developed between late Meiji- to post-war Japan, following the abolition ofEdo period sumptuary clothing laws in 1868.[86] These laws changed constantly, as did the strictness with which they were enforced, and were designed to keep the nouveau riche merchant classes from dressing above their station, and appearing better-dressed than monetarily-poor but status-richsamurai class.
For women's formal wear, Kurotomesode, Irotomesode, Furisode, etc. are worn, and in the case of Tomesode, a Haori jacket may also be worn.[85]
The Tomesode is black or colored with patterns only from the waist down to the hem, and is also called “Suso-moyō” (hem pattern).[61] Originally it was worn in double layers, but today many are made with Hiyoku tailoring, where the collar and sleeve openings are double-layered to look like two kimono worn together.[61]
After thewar, with the development ofmass media, the rules for formal wear began to be standardized nationwide and were rationalized.[87]
The formal wear for unmarried women[61] (the highest formal wear). Black-based ones are called Kuro-furisode, others are Iro-furisode.[61] Hon-furisode are characterized by thick hem facing (Suso-fuki) and sleeve opening facing (Sodeguchi-fuki), and a long length so the hem trails.[61] In the case of Ō-furisode, cotton padding is inserted in the facing.[61] The lining fabric added to hems and sleeve openings is called Suso-mawashi (Hakkake), and in Ō-furisode the same dyed fabric as the outer fabric is used, called “Tomo-hakkake.”[61]
The formal wear for married women[85][61][88] (the highest formal wear). Kimono with patterns only from the waist down are called “Edo-tsuma-moyō,” and nowadays Kurotomesode are often called “Edo-tsuma.”[61] The highest rank is dyed-and-removed five crests.[85][61][88] For highest formal wear, a white half-collar is used.[61] A high-ranking Fukuro-obi is often worn as the belt.[61]
Tomesode with a base color other than black are called Irotomesode, and may be worn not only by married women.[61] Irotomesode can have five, three, or one crest; those with five crests are considered equal in formality to Kurotomesode.[61] At court functions, since black is considered a “mourning color,” Kurotomesode are not worn; therefore, for investitures and other occasions at the Imperial Court, Irotomesode are considered formal.
Semi-formal women's kimono with “Eba-moyō” (continuous design).[85][61] Eba-moyō refers to patterns matched during temporary sewing to form an overall design like a single painting.[61]
A type of semi-formal kimono for women.[85][61] It has upward-facing patterns from the hem arranged on the front and back panels with the shoulder seam and sleeve seam as peaks.[61] Since it requires fewer processes than Hōmongi, it is considered lower in formality.[61]
Iromuji with crests
Plain-dyed kimono (except black) with crests are regarded as semi-formal wear.[61]
The highest formal wear is a black Habutae kimono with five dyed-and-removed crests, worn with a Haori jacket and striped Hakama (such as Sendaihira).[61] A Kaku-obi belt is used.[61] Tabi socks are made ofCalico or broadcloth, and Zōri sandals are tatami-mat soles with fabric thongs, usually white.[61]
Under feudalsumptuary laws, colours were restricted by class; for instance,indigo-dyed clothing was allowed for all classes, and was commonly seen in hand-dyed cotton, linen or hempkasuri fabrics, but other dyes, such as reds and purples, were forbidden to those below a certain class. Sometimes, for some classes, designs were restricted to below the belt, to the bottoms of the sleeves (forfurisode) or to along the hem (suso-moyo); sometimes they were banned altogether,[75] and were transferred to the collar of the underkimono,[89] or the inside of the hem, where only the faintest glimpse would be intermittently visible. This type of subtle ostentation became an aesthetic known asiki, and outlasted the sumptuary laws.[75] Modern-day rules of formality, however, still echo clothing distinctions typically employed by the uppermost samurai classes.[75]
Aspects of men's kimono still follow this extreme ofiki. Bright, elaborate decoration is used on the lining of thehaori (jacket), and on men'sjuban (underkimono), which is not worn as an outer layer outside the home, and so only shows at the neck and inside the sleeves. Women'sjuban were once bright and boldly-patterned (and were often kimono too damaged to use as an outer layer, repurposed), but are now typically muted pastel shades.[74][55] The outside of men's garments tended towards subtle patterns and colours even after the sumptuary laws lifted, with blues and blacks predominating, but designers later came to use browns, greens, purples, and other colours in increasingly bold patterns.
Older people generally wear more subtle patterns, and younger people brighter, bolder ones.
Kimono vary widely in fabric type, and are not all made of silk. Certain types of fabric, such as wool, cotton, linen and hemp, are always considered informal, and so are not seen on more formal varieties of kimono. Certain varieties of silk, such astsumugi, are considered informal,[92] having once been woven only by silk farmers out of unusable cocoons for their own use; other, more modern varieties, such asmeisen, were designed to be used as casual, cheap daywear, and are machine-spun and -woven using brightly patterned yarns. Some varieties of crêpe are on the lowest end of formal, with their rougher texture considered unsuitable for formal use;[92] other varieties, such as smooth crêpe, are used for all varieties of formal kimono. The most formal kimonos are only ever made of smooth, fine silks, such as glossy silk fabrics likehabutai.
Some fabrics are also worn only at certain times of year;ro, for instance, is a plain-weave fabric withleno weave stripes only worn in high summer (July and August), but is used for all types of kimono and for other garments, such as under-kimono andobi.[89][74] Some fabrics – such as certain types of crêpe – are never seen in certain varieties of kimono,[c] and some fabrics such asshusu (heavy satin) silk are barely ever seen in modern kimono orobi altogether, having been more popular in previous eras than in the present-day.
Despite their informal nature, many types of traditional, informal kimono fabrics are highly prized for their craftsmanship. Varieties oftsumugi,kasuri, and fabrics woven fromMusa basjoo are valued for their traditional production, and regularly command high prices.
In the summer months (from June[93] until October[46] in the most stringent kimono guides, such as those for tea ceremony), kimonos are unlined (hitoe); for the rest of the year, they are lined (awase). This applies to all types of kimono, with a few caveats: the very informalyukata is always unlined, and thus only worn in summer; the most formal kimono, in contrast, are unlikely to be worn unlined in summer, as many people simply do not have more than one formal kimono to wear, and do not wear formal kimono often enough to warrant the purchase of a new, unlined kimono, just for summer wear.Obi also change fabric type in the summer months.
Within the two realms of lined and unlined, further distinctions exist for different months. Lined kimonos are either made from transparent or gauze fabrics (usu-mono) or opaque fabrics, with kimono transitioning towards gauze fabrics at the height of summer and away from them as autumn begins. In one kimono guide for tea ceremony, at the start of the unlined season in June, fabrics such askawari-chirimen (a type of silk crêpe noted as a more "wrinkle-resistant" form ofhitokoshi-chirimen) andkomayori ro (a thicker type ofro with twisted silk threads) are recommended for wear.[93] Following the beginning of therainy season in some time in July, fabrics switch over to gauzier varieties, and highly prized hemp fabrics such asEchigo-jofu are worn.[94] Continuing into August, hemp,ro andsha continue to be worn; in September, they are still worn, but fabrics such ashitokoshi chirimen, worn in June, become suitable again, and opaque fabrics become preferred over sheer, though sheer may still be worn if the weather is hot.[46]
In the same kimono guide, the first lined kimonos are worn in October, and the transition away from plainer opaque fabrics to richer silks such asrinzu is immediate. The richness of fabrics increases going into November and December, with figured silks featuring woven patterns appropriate. Coming into January, crêpe fabrics with a rougher texture become appropriate, with fabrics such astsumugi worn in February.[46] Figured silks continue to be worn until June, when the unlined season begins again. In Japan, this process of changing clothes is referred to askoromogae.
Ahinata kamon dyed onto a kimonoA dyed 'shadow' (kage)kamon on the centre-back seam of ahaori
Formality is also determined by the number and type ofmon orkamon (crests). Five crests (itsutsu mon) are the most formal, three crests (mitsu mon) are mid-formality, and one crest (hitotsu mon) is the least formal, used for occasions such as tea ceremony. Kimono (and other garments, likehakama) withmon are calledmontsuki ("mon-carrying"). The type of crest adds formality as well. A "full sun" (hinata) crest, where the design is outlined and filled in with white, is the most formal type. A "mid-shadow" (nakakage) crest is mid-formality, with only the outline of the crest visible in white. A "shadow" (kage) crest is the least formal, with the outline of the crest relatively faint. Shadow crests may be embroidered onto the kimono, and full-embroidery crests, callednui mon, are also seen.[95]
Formality can also be determined by the type and colour of accessories. For women, this may be the weave ofobijime and the style ofobiage.[citation needed] For men, adding ahaori (a traditional jacket) makes an outfit more formal, and adding bothhaori andhakama (traditional trousers) is more formal still. The material, colour, and pattern of these overgarments also varies in formality.[92] Longerhaori are also more formal.
Both men's and women's kimonos feature sleeves considered relatively short, with men's sleeves shorter than women's. Though lengths can vary by a few centimetres, these lengths are informally standardised.
Men's kimono sleeves are only ever one length, and women's sleeves are limited to a short length suitable for almost all types of kimono, or a longer length used for only one type of formal young women's kimono. In the modern day, the two lengths of women's sleeve worn on kimonos arefurisode length, which almost reaches the floor, and a shorter length, used for every other variety of women's kimono.
Before WWII, the length of women's kimono sleeves varied, with sleeves gradually shortening as a woman got older. During WWII, due to shortage of fabric, the 'short' length of women's kimono sleeves became standardised, and post-WWII, the realm of long kimono sleeves was narrowly curtailed to the realm offurisode only – formal young women's and girl's kimono, where previously longer sleeves were seen on other varieties of dress, both formal and informal. Pre-WWII women's kimonos are recognisable for their longer sleeves, which, though notfurisode length, are longer than most women's kimono sleeves today.
Young women are not limited to wearing onlyfurisode, and outside of formal occasions that warrant it, can wear all other types of women's kimono which feature shorter sleeves.
Thejuban, also called thenagajuban (長襦袢), is an under-kimono worn by both men and women.Juban resemble a kimono in construction, with a few key differences: the sleeves are typically open along the entire cuff side, with only a few stitches sewing both sides together placed where a normal kimono sleeve cuff would end; the sleeve has no curve sewn into the outer edge, instead being square; thejuban is typically a little shorter than the length of a kimono when worn, and features no extra length to be bloused into anohashori for women's kimono; the front either does not have any overlapping panels (okumi) or features only thin ones, with the collar set at a lower angle than that of a regular kimono.Juban are considered an essential piece of kimono underwear, and are worn with all types of kimono except foryukata.
Juban are typically made of lightweight materials, often silk. Women'sjuban and can either be patterned or entirely plain, and modern women'sjuban are frequently white in colour.
Men'sjuban are often dyed in dark colours, and can be made of the same material as the outer kimono, as some kimono fabric bolts (tanmono) are woven with enough length to accommodate this. Men'sjuban are frequently more decorative than women's, often featuring a dyed pictorial scene in the upper back, such as a scene fromThe Tale of Genji.
In the late 19th and early 20th century, women'sjuban transitioned from being mostly red with bold white motifs to being white or light pastel colours. The dye technique previously used to achieve this,beni itajime, fell out of fashion and knowledge and was rediscovered in 2010.[96]: 1
Hadajuban are a type of kimono undergarment traditionally worn underneath thenagajuban.Hadajuban are even further removed from resembling a kimono in construction than thenagajuban; thehadajuban comes in two pieces (a wrap-front top and a skirt), features no collar, and either has tube sleeves or is sleeveless.
Unlike thenagajuban, thehadajuban is not considered an essential piece of kimono underwear, and a t-shirt and shorts are frequently substituted in its place.
A woman and a young boy wearingyukata decorated with spider chrysanthemums and dragonflies respectively
Yukata (浴衣) are casual cotton summer kimonos worn by both men and women.Yukata were originally very simple indigo and white cotton kimono, little more than a bathrobe worn either within the house, or for a short walk locally;yukata were worn by guests at inns, with the design of theyukata displaying the inn a person was staying at. From roughly the mid-1980s onwards, they began to be produced in a wider variety of colours and designs, responding to demand for a more casual kimono that could be worn to a summer festival, and have since become more formal than their previous status as bathrobes, with high-end, less colourfulyukata sometimes standing in place ofkomon.
In the present day, manyyukata are brightly coloured, featuring large motifs from a variety of different seasons. For women, they are worn with either ahanhaba obi (half-widthobi) or aheko obi (a soft, sash-likeobi), and are often accessorised with colourful hair accessories. For men,yukata are worn with either an informalkaku obi or aheko obi. Children generally wear aheko obi withyukata.
Yukata are always unlined, and it is possible for women to wear a casualnagoya obi with a high-end, more subduedyukata, often with ajuban underneath. A high-end men'syukata could be dressed up in the same way.
Ayukata is traditionally worn as a single layer or over ahadajuban (an underkimono worn underneath thenagajuban, featuring a simplified construction).Yukata may be worn over the top of a t-shirt and shorts. This distinguishesyukata from a more-formalkomon kimono, where anagajuban (also described as ajuban, an underkimono resembling) is worn underneath, showing a second layer of collar at the neckline. However, some modernyukata are worn with collared cottonjuban featuring a collar of linen, cotton orro, for occasions such as informal eating-out.[74][55]
Tsumugi (紬) are casual silk kimono worn by both men and women.Tsumugi kimono traditionally referred to kimono woven in plain weave withsilk noil, short-staple silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying.[97]Tsumugi kimonos are often dyed withKasuri patterns.[98]
Komon (小紋,lit.'small pattern', though the patterns may in fact be large) are informal women's kimono. They were the type most often worn as everyday womenswear in pre-war Japan. Though informal,komon with smaller, denser patterns are considered a shade more formal thankomon with larger, bolder patterns.
Komon mostly have nokamon (crests), and the sleeves are fairly short. They are made with a repeating designs, though the repeat length may be quite long. Designs can be made with any method; woven patterns, prints, stencilled patterns in alternating orientations, freehand painting (yūzen) or tie-dye patterns (shibori). Traditionally the direction of the fabric was alternated in adjacent panels (necessary due to the lack of shoulder seam), so patterns were generally reversible. If the pattern is the same way up on each panel, thekomon is more formal, approachingtsukesage-level formality.[citation needed]
Woven geometric patterns (such as stripes) have no season, but others show images representing the season in general. Woven non-geometric patterns (kasuri) are common. Small, dense patterns are often used; this is practical, as fine-scale patterns hides stains.
Komon are made with informal materials such astsumugi (slubbed silk), cotton, linen, ramie, and hemp. In the modern day, synthetic blends and synthetics are often used; rayon (jinken) and polyester are common.
Now that kimonos are not typically worn as informal clothing,komon are not worn as often as formal kimono, though they have a wider range of suitable use.Edo komon are the most formal type ofkomon; they may have one to three crests, with a small, fine pattern that appears to be a solid colour from a distance, and so resembles the more formaliromuji.
Thisedo komon pattern is stencil-dyed onto the fabric.
Edo komon (江戸小紋) are a type ofkomon worn by women characterised by an extremely small repeating pattern, usually done in white on a coloured background. Theedo komon dyeing technique is sometimes said to originate in the late Heian period (circa mid-12th century), with a motif calledkozakura, which shows tiny stylised cherry blossoms on a background of white dots. In theEdo period (1603–1867), thesamurai classes used them forkamishimo formal wear, with specific patterns becoming associated with specific families. Towards the end of the Edo period, in the early 1800s, commoners began to wear them.[99]Edo komon are of a similar formality toiromuji, andedo komon with onekamon can be worn as low-formality visiting wear; because of this, they are always made of silk, unlike regularkomon.
Iromuji (色無地,lit.'solid colour') are monochromatic, undecorated women's kimonos mainly worn to tea ceremonies, as the monochrome appearance is considered to be unobtrusive to the ceremony itself. Despite being monochromatic,iromuji may feature a woven design;iromuji suitable for autumn are often made ofrinzu damask silk. Someedo komon with incredibly fine patterns are considered suitable for tea ceremony, as from a distance they are visually similar toiromuji.Iromuji may occasionally have onekamon, though likely no more than this, and are always made of silk.Shibori accessories such asobiage are never worn withiromuji if the purpose of wear is a tea ceremony; instead, flat and untextured silks are chosen for accessories.
Tsukesage (付け下げ) are low-ranking women's formalwear, and are a step belowhōmongi, though the two sometimes appear similar or indistinguishable. The motifs on atsukesage are placed similarly to those of ahōmongi – across the back-right shoulder and back-right sleeve, the front-left shoulder and the front-left sleeve, and across the hem, higher at the left than the right – but, unlikehōmongi, do not typically cross over the seams of each kimono panel, though some confusingly do. In older examples, the motifs may instead be placed symmetrically along the hem, with the skirt patterns mirrored down the centre-back seam.[75]
Similarities betweentsukesage andhōmongi often lead to confusion, with sometsukesage indistinguishable fromhōmongi; often,tsukesage are only distinguishable fromhōmongi by the size of the motifs used, with smaller, less fluid motifs generally considered to betsukesage, and larger, more fluid motifs considered to behōmongi.[100]
Tsukesage can have between one and threekamon, and can be worn to parties, but not ceremonies or highly formal events.
Hōmongi (訪問着,lit.'visiting wear') are women's formal kimonos with the same pattern placement as atsukesage, but with patterns generally matching across the seams. They are always made of silk, and are considered more formal than thetsukesage.
Hōmongi are first roughly sewn up, and the design is sketched onto the fabric, before the garment is taken apart to be dyed again. Thehōmongi's close relative, thetsukesage, has its patterns dyed on the bolt before sewing up. This method of production can usually distinguish the two, as the motifs on ahōmongi are likely to cross fluidly over seams in a way atsukesage generally will not.[100] However, the two can prove near-indistinguishable at times.
Hōmongi may be worn by both married and unmarried women; often friends of the bride will wearhōmongi to weddings (except relatives) and receptions. They may be worn to formal parties.
Anirotomesode dating to the 1920s displaying a mirrored skirt pattern (the same garment as in the wedding image at the top of the page)
Irotomesode (色留袖,lit.'colour short-sleeve') are formal women's kimono that feature a design along the hem on a coloured background. They are slightly less formal thankurotomesode, which have roughly the same pattern placement on a black background.Irotomesode, though worn to formal events, may be chosen when akurotomesode would make the wearer appear to be overdressed for the situation. The pattern placement forirotomesode is roughly identical tokurotomesode, though patterns seen along thefuki andokumi may drift slightly into the back hem itself.Irotomesode with fivekamon are of the same formality as anykurotomesode.Irotomesode may be made of figured silk such asrinzū.
Iro-montsuki (lit.'colourmon-decorated') are formal men's kimonos.Iro-montsuki feature formal crests along the shoulders on a colour background, which, apart from the cut of the sleeve, appears the same as anirotomesode from the waist up, and thus cannot be distinguished in pattern when worn under thehakama.[92] Because formalwear for men requireshakama,[92] men do not wear formal kimono that have elaborate patterns on the hem, as these would be hidden.[101]
A pre-WWIIkurotomesode with three crests and longer sleeves
Kurotomesode (黒留袖,lit.'black short-sleeve') are formal women's kimonos, featuring a black background and a design along the hem. They are the most formal women's kimono, and are worn to formal events such as weddings and wedding parties. The design is only present along the hem; the further up the body this design reaches, the younger the wearer is considered to be, though for a very young woman anirotomesode may be chosen instead,kurotomesode being considered somewhat more mature. The design is either symmetrically placed on thefuki andokumi portions of the kimono, or asymmetrically placed along the entirety of the hem, with the design being larger and higher-placed at the left side than the right. Vintage kimono are more likely to have the former pattern placement than the latter, though this is not a hard rule.
Kurotomesode are always made of silk, and may have ahiyoku – a false lining layer – attached, occasionally with a slightly padded hem. Akurotomesode usually has between 3 and 5 crests; akurotomesode of any number of crests outranks anirotomesode with less than five.Kurotomesode, though formalwear, are not allowed at the royal court, as black is the colour of mourning, despite the colour designs decorating the kimono itself;[citation needed] outside of the royal court, this distinction forkurotomesode does not exist.Kurotomesode are never made of flashy silks such asrinzū, but are instead likely to be a matte fabric with little texture.
Kurotomesode typically featurekazari jitsuke (飾り仕付け), small white decorative prickstitches along the collar.
Kuro-montsuki ("blackmon-decorated") are the most formal men's kimono, which, apart from the cut of the sleeve, look exactly the same from the waist up as akurotomesode, and thus cannot be distinguished in pattern when worn under thehakama required for men's formal dress.[92]
Mofuku (喪服) are a category of kimono and accessories suitable for mourning, worn by both men and women.Mofuku kimono,obi and accessories are characterised by their plain, solid black appearance.Mofuku kimonos are plain black silk with fivekamon, worn with white undergarments and whitetabi. Men wear a kimono of the same kind, with a subduedobi and a black-and-white or black-and-grey stripedhakama, worn with black or white zōri.
A completely black mourning ensemble for women – a plain blackobi, blackobijime and blackobiage – is usually reserved for those closest to the deceased. Those further away will wear kimono in dark and subdued colours, rather than a plain black kimono with a reduced number of crests. In time periods when kimonos were worn more often, those closest to the deceased would slowly begin dressing in coloured kimono over a period of weeks after the death, with theobijime being the last thing to be changed over to colour.[3]
Uchikake (打ち掛け) are highly formal women's over-kimonos, worn only by brides or onstage. The nameuchikake comes from theJapanese verbuchikake-ru, "to drape upon", originating in roughly the 16th century from a fashion amongst the ruling classes of the time to wear kimono (then calledkosode,lit.'small sleeve') unbelted over the shoulders of one's other garments;[3]: 34 theuchikake progressed into being an over-kimono worn by samurai women before being adopted some time in the 20th century as bridal wear.
Uchikake are designed to be worn over the top of a complete kimono outfit withobi, and thus are not designed to be worn belted. Unlike their 16th century counterparts, modernuchikake generally could not double as a regular kimono, as they often feature heavy, highly-formal decoration and may be padded throughout, if not solely on the hem. They are designed to trail along the floor, and the heavily padded hem helps to achieve this.
Bridaluchikake are typically red or white, and often decorated heavily with auspicious motifs. Because they are not designed to be worn with anobi, the designs cover the entirety of the back.
Shiromuku (白無垢,lit.'white pure-innocence') are pure-white wedding kimonos worn by brides for a traditionalJapaneseShintowedding ceremony. Comparable to anuchikake and sometimes described as a whiteuchikake, theshiromuku is worn for the part of the wedding ceremony, symbolising the purity of the bride coming into the marriage. The bride may later change into a reduchikake after the ceremony to symbolise good luck.
Ashiromuku will form part of a bridal ensemble with matching or coordinating accessories, such as a bridalkatsura (bridal wig), a set of matchingkanzashi (usually mock-tortoiseshell), and asensu fan tucked into the kimono. Due to the expensive nature of traditional bridal clothing, few are likely to buy brand-newshiromuku; it is not unusual to rent kimono for special occasions, and Shinto shrines are known to keep and rent outshiromuku for traditional weddings. Those who do possessshiromuku already are likely to have inherited them from close family members.
Susohiki are sewn differently to normal kimonos due to the way they are worn.[102] The collar on asusohiki is sewn further and deeper back into the nape of the neck, so that it can be pulled down much lower without causing the front of the kimono to ride up. The sleeves are set unevenly onto the body, shorter at the back than at the front, so that the underarm does not show when the collar is pulled down.
Susohiki are tied differently when they are put on – whereas regular kimonos are tied with a visibleohashori, and the side seams are kept straight,susohiki are pulled up somewhat diagonally, to emphasise the hips and ensure the kimono trails nicely on the floor. A smallohashori is tied, larger at the back than the front, but it wrapped against the body with amomi (lit.'red silk') wrap, which is then covered by theobi, rendering theohashori invisible.[d]
Aside from their specialised construction,susohiki can resemble many other types of women's kimono in their decoration, fabric type, colour and sleeve length. Thesusohiki worn by geisha and their apprentices are formal kimono worn to engagements, and so are always made of fine silk, resembling kimono ofhōmongi formality and above in their pattern placement and background colour.
Thesusohiki worn by kabuki actors varies by role, and so can appear as the humble clothing of an Edo-period merchant's daughter, as well as the fine silk clothing of a samurai woman. These costumes may be made of polyester, as well as silk, informal silk fabrics, cotton, linen or hemp. Pattern placement, colour and design varies by role, with many roles having costume designs preserved from previous centuries.
Thesusohiki worn by people performing traditional Japanese dance typically feature a bold design in block colours, as their clothing must stand out from the stage. Performers performing in a group wear kimono identical to one another, with the bold designs creating visual unity between performers.
Though the kimono is the national dress of Japan, it has never been the sole item of clothing worn throughout Japan; even before the introduction of Western dress, many different styles of dress were worn, such as theattus of theAinu people and theryusou of the Ryukyuan people. Though similar to the kimono, these garments are distinguishable by their separate cultural heritage, and are not considered to be simply 'variations' of the kimono as the clothing worn by the working class is considered to be.[citation needed]
Some related garments still worn today were the contemporary clothing of previous time periods, and have survived in an official and/or ceremonial capacity, worn only on certain occasions by certain people. Accessories that can be worn with the kimono vary by occasion and use. Some are ceremonial, or worn only for special occasions, whereas others are part of dressing in the kimono and are used in a more practical sense.[104]
Bothgeisha andmaiko wear variations on common accessories that are not found in everyday dress. As an extension of this, many practitioners ofJapanese traditional dance wear similar kimonos and accessories to geisha andmaiko.
For certain traditional holidays and occasions some specific types of kimono accessories are worn. For instance,okobo, also known aspokkuri, are worn by girls forshichi-go-san, alongside brightly colouredfurisode.Okobo are also worn by young women onseijin no hi (Coming of Age Day).
Pre-WW2, kimonos were commonly worn layered, with three being the standard number of layers worn on top of the undergarments. The layered kimono underneath were known asnakagi, and were often a patchwork of older or unwearable kimono taken apart for their fabric. Specifically designed matching sets of formal layered kimonos were known aso-tsui, and generally featured the same design presented on different background colours, such as white (innermost), red (middle layer) and black (outermost).[37]: 42 The innermost layers, known asshitagi, typically featured the plainest decorative techniques, such as dyework only, and the successive outer layers would feature techniques such as embroidery and couched gold thread, with the outermost layer – known as theuwagi – displaying the most extensive decoration.[37]: 45 These matching sets would be designed and created together, commonly as part of a bride's outfit for a wedding. Extant intact sets ofo-tsui kimonos are difficult to find, particularly in good condition, with the innermost kimono typically damaged and in poor condition.[37]: 46
In modern Japan, at least one layer is typically worn next to the skin when wearing kimono. Traditionally, this would be thehadagi orhadajuban, a tube-sleeved, wrapped-front garment considered to be underwear, though in the modern day, regular underwear is sometimes worn instead, and a traditionalhadajuban is not considered strictly necessary. Ahadajuban is typically made of something more washable than silk, such as cotton, hemp, linen or some synthetic fibres.
For all forms of kimono except theyukata (excluding high-qualityyukata dressed up askomon), anagajuban (lit.'longjuban'), often known and referred to as ajuban, is worn over the top of any underwear. Thejuban resembles a kimono made of a lighter, thinner fabric, not uncommonly constructed without anokumi panel at the front, and often with a collar cover known as ahan'eri sewn over its collar. Thehan'eri, visible at the neckline when worn underneath a kimono, is designed to be replaced and washed when needed.[74]
In modern-day Japan, layered kimonos are generally only seen on the stage, whether for classical dances or in kabuki. A false second layer called ahiyoku (比翼, "second wing") may be attached instead of an entirely separate kimono to achieve this look; thehiyoku resembles the lower half of a kimono's lining which, and is sewn to the kimono horizontally along the back. Ahiyoku may have a false collar attached to it, or a matching false collar sewn to the kimono separately, creating the illusion of layering at the neckline; separate false sleeve cuffs may also be sewn into the kimono to create this effect.[citation needed]
Kimonos featuringhiyoku can be seen in some kabuki performances such asFuji Musume, where the kimono is worn with theokumi flipped back slightly underneath theobi to expose the design on thehiyoku. Thehiyoku can be seen on some bridal kimonos.[citation needed]
In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing.[44] This traditional washing method involves two steps: taking the kimono apart and washing each piece (toki arai) and then stretching each piece of a kimono onto a board to dry after they have been washed and starched (arai hari).[105] Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. The process of traditionally washing kimono is very expensive and difficult and is one of the causes of the declining popularity[citation needed] of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practised, especially for high-end garments.
New, custom-made kimono are generally delivered to a customer with long, loosebasting stitches placed around the outside edges. These stitches are calledshitsuke ito (not to be confused withkazari jitsuke, the small white prickstitching seen along the collar ofkurotomesode). They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimono. These methods help to preserve the garment and to keep it from creasing when stored. Kimonos are often stored wrapped in acid-free paper envelopes known astatōshi.
Kimono need to beaired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimonodry cleaned. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes.
Kimonos are produced in different regions all over Japan. Locations known for making kimonos are often calledsanchi. Many of these regional variations still exist today and are recognised asmeibutsu, famous products of their place of origin.
Yūki-tsumugi kimonos are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver.[106]
Ōshima Tsumugi kimonos are dyed with mud and dyed from the bark ofSharinbai Tree creating a deep black color. Mud dyedkasuri threads are hand woven together to create patterns.[107]
Kimonos are collected in the same way as Japanese hobbyists by some non-Japanese, and may be worn to events such as Kimono de Jack gatherings.[32][page needed]
^The termkimono comes from the verb'to wear (on the shoulders)' (着る,kiru), and the noun'thing' (物,mono).[3] Though 'kimonos' is technically an acceptable plural for the termkimono in English, Japanese has no conventions of adding an -s suffix to denote plurality in transliterated words; thus, most sources in English usekimono as both singular and plural.
^However, this was not always the case, as many samurai families were descended from aristocrats who had undergoneimperial demotion to the warrior class. In any case, since their lifestyle assumed the possibility of death in battle, samurai increasingly favored austerity.
^Rough crêpe fabrics are not used foriromuji, whereas smooth crêpe fabrics are.
^Video reference showing Atami geisha Kyouma being dressed inhikizuri – the second video shows the difference betweenohashori length at the front and back, showing how it is tied into theobi so as to be not visible.[103]
^Wada, Yoshiko Iwamoto; Rice, Mary Kellogg; Barton, Jane (2011).Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (3rd ed.). New York: Kodansha USA, Inc. pp. 11–13.ISBN978-1-56836-396-7.
^Textile Museum (Washington, D.C.) (1996).The kimono inspiration : art and art-to-wear in America. Rebecca A. T. Stevens, Yoshiko Iwamoto Wada, Textile Museum (1st ed.). Washington, D.C.: Pomegranate. p. 132.ISBN0-87654-897-4.OCLC33947597.
^abStevens, Rebecca A. T.; Wada, Yoshiko Iwamoto (1996).The kimono inspiration: art and art-to-wear in America (first ed.). Washington DC, San Francisco: The Textile Museum, Pomegranate Artbooks.ISBN0-87654-897-4.OCLC33947597.
^Fassbender, Bardo; Peters, Anne; Peter, Simone; Högger, Daniel (2012).The Oxford Handbook of the History of International Law. Oxford: Oxford University Press. p. 477.ISBN978-0198725220.
^Masuda Yoshiko (2010),History of Japanese Clothing, Yoshikawa Kōbunkan, pp. 147–148
^Daijisen Dictionary. Shogakukan."呉服 Gofuku, Kure-hatori" 1. A general term for kimono textiles, a bolt of fabric 2. The name of silk fabrics as opposed to Futomono 3. A twill woven with the method from the country of Go in ancient China, Kurehatori (literally translates as a weave of Kure)
^Tanaka, Atsuko (2012).きもの自分流入門 (in Japanese). Tokyo: Shogakukan. p. 82.ISBN9784093108041.
^abVictoria and Albert Museum. Department of Textiles; Smith, A. D. Howell; Koop, Albert J. (Albert James) (1919–1920).Guide to the Japanese textiles: Costume. Vol. 2. Translated by Inada, Hogitaro. Harold B. Lee Library. London : Printed under the authority of H. M. Stationery Office. (translator did not translate the full book text, but from the acknowledgements of vol 1 it sounds as if some of his translations might be incorporated into the work. Volume 1 came out in 1919, volume 2 in 1920. Note the work is in the public domain, thereforethe fulltext is not copyright)
^"男のきもの大全". Kimono-taizen.com. 22 February 1999. Retrieved13 August 2012.
^abSawada, Kazuto (9 May 2014)."Furisode and teenage boys".Bimonthly Magazine REKIHAKU. 137 A Witness to History. National Museum of Japanese History. Archived fromthe original on 9 May 2014.
^abcde"Komon kimono".Kimono mochi: kimono collection.[for some reason the author used this abstract as the HTML title, so I've preserved it in the citation]The lowly komon kimono is the workhorse of the kimono wardrobe, worn for trips to town, to friends houses, in any situation which is outside of the home but informal. Despite their name, which means 'small design', komon can have large or small imagery, and the repeat can be staggered widely. painted, closely stencilled, woven, Printed, striped, spotted, shibori, silk, jinken, modern polyester—if it's a repetitive design, short-sleeved, and without kamon, then it's a komon.
^Watson, William, ed. (1981).The Great Japan Exhibition: Art of the Edo Period 1600–1868. London: Royal Academy of Arts. pp. 222–229.[A number of visual examples of Edo-periodkosode, with a variety of sleeve lengths and proportions showing the variation in style and shape throughout the era.]
^abcdefg"Juban".Kimonomochi: kimono collection.[for some reason the author used this abstract as the HTML title, so I've preserved it in the citation] Juban covers a wide range of undergarments which are worn between the silk kimono and the skin, to protect the delicate, expensive and often unwashable kimono from sweat and skin oils. Juban worn next to the skin are generally described as hadagi or hadajuban and need to be washable, so are cotton, hemp, linen or, more recently, synthetic fibers. Nagajuban are the outer layer of kimono underwear, and can be silk or synthetic, lined (awase) or unlined (hitoe). In summer, one can lessen the layers or just wear a han-juban (literally half-juban) with no susoyoke (skirt). The only part of a juban which is seen after dressing is the collar, which is removable so that a clean matching collar can be replaced at short notice. collars (eri) are a separate area, with many types, fabrics and levels of intracacy.
^abcdefg"Furisode".Kimono Mochi: private kimono collection photographs and text. Retrieved31 July 2021.
^Coline, Youandi (26 October 2018)."Women's vs Men's kimono".chayatsujikimono.wordpress.com. Chayatsuji Kimono. Retrieved13 June 2020.
^abc"Tomosode".Kimonomochi: kimono collection.[for some reason the author used this abstract as the HTML title, so I've preserved it in the citation] On this page are some of my tomesode. Most are black-background kuro-tomesode, but there is the odd iro-tomesode (coloured tomesode) too. In the list of formality, tomesode rank to the top, becoming more formal the higher the number of kamon (small family emblems to the center back, each sleeve back, and each chest side to the front). Iro-tomesode may be worn by both married and unmarried women, though kuro-tomesode are exclusively worn by married women. in days past, the closer the design was to the hemline and the more muted the colours, the older the wearer (Wearing a tomesode that was too bright or too effusive in design was the equivalent of 'mutton dressed as lamb', and very definitely not iki!). Thus it was possible to read a lot of information from a wearer's kimono (age, family, status, children) without ever having spoken to them, saving faux-pas and so all-important face!
^【完全解説】自宅で着物を洗い張りしてみた (video) (in Japanese). さとしの和ちゃんねる. 13 August 2022.Archived from the original on 8 April 2023. Retrieved8 April 2023 – via YouTube.
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![In the late Heian period, the jūnihitoe consisted of many layers (hitoe) worn over a plain kosode and hakama.[27] (The Tale of Genji, 12th century)](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aGenji_emaki_TAKEKAWA.jpg)
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